Jonah Jones - I Dig Jonah!: The Capitol Records Collection

Bitrate: MP3@320K/s
Time: 63:27
Size: 145.3 MB
Styles: Trumpet jazz
Year: 2000/2010
Art: Front

[2:38] 1. On The Street Where You Live
[2:29] 2. You're Just In Love
[2:18] 3. Baby Won't You Please Come Home
[2:01] 4. Tangerine
[2:07] 5. Get Me To The Church On Time
[2:41] 6. I Can't Get Started
[2:09] 7. Baubles, Bangles And Beads
[2:09] 8. No Moon At All
[3:37] 9. Swing, Moten
[4:52] 10. St. James Infirmary
[2:05] 11. Lullaby Of Broadway
[2:28] 12. Night Train
[2:05] 13. I Dig Chicks!
[2:33] 14. Put On A Happy Face
[2:43] 15. Struttin' With Some Barbeque
[2:44] 16. Dansero
[2:28] 17. South Of The Border
[2:23] 18. Around The World
[2:08] 19. It's A Blue World
[2:11] 20. Pennies From Heaven
[2:19] 21. More Than You Know
[2:11] 22. A Touch Of Blue
[2:51] 23. They Can't Take That Away From Me
[2:07] 24. Lazy River
[2:58] 25. Memories Are Made Of This

A talented and flashy trumpeter, Jonah Jones hit upon a formula in 1955 that made him a major attraction for a decade; playing concise versions of melodic swing standards and show tunes muted with a quartet. But although the non-jazz audience discovered Jones during the late '50s, he had already been a very vital trumpeter for two decades. Jones started out playing on a Mississippi riverboat in the 1920s. He freelanced in the Midwest (including with Horace Henderson), was briefly with Jimmie Lunceford (1931), had an early stint with Stuff Smith (1932-1934), and then spent time with Lil Armstrong's short-lived orchestra and the declining McKinney's Cotton Pickers. Jones became famous for his playing with Stuff Smith's Onyx club band (1936-1940), recording many exciting solos. He gigged with Benny Carter and Fletcher Henderson and became a star soloist with Cab Calloway (1941-1952), staying with the singer even after his big band became a combo. Jones played Dixieland with Earl Hines (1952-1953), toured Europe in 1954 (including a brilliant recording session with Sidney Bechet), and then led his quartet at the Embers (1955), hitting upon his very successful formula. His shuffle version of "On the Street Where You Live" was the first of many hits and he recorded a long series of popular albums for Capitol during 1957-1963, switching to Decca for a few more quartet albums in 1965-1967. Jonah Jones recorded a fine date with Earl Hines for Chiaroscuro (1972) and still played on an occasional basis in the 1980s and early '90s; he died April 30, 2000, at the age of 91. ~bio by Scott Yanow

I Dig Jonah!: The Capitol Records Collection

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Rumer - Boys Don't Cry

Bitrate: MP3@320K/s
Time: 41:35
Size: 95.2 MB
Styles: Pop-rock, Adult Alternative
Year: 2012
Art: Front

[4:08] 1. P.F. Sloan
[3:18] 2. Travelin' Boy
[3:29] 3. Sara Smile
[3:25] 4. Be Nice To Me
[2:46] 5. The Same Old Tears On A New Background
[3:44] 6. Soulsville
[3:32] 7. Welcome Back
[4:02] 8. Flyin' Shoes
[2:37] 9. Just For A Moment
[2:24] 10. It Could Be The First Day
[4:07] 11. Brave Awakening
[3:58] 12. A Man Needs A Maid

Rumer's sophomore effort, 2012's Boys Don't Cry, is a retro soft rock covers album that finds the vocalist tackling tracks by various male artists of the 1970s. As with her acclaimed 2010 debut, Seasons of My Soul, Boys Don't Cry showcases Rumer's gentle and sweetly soulful vocal style that is clearly perfectly suited to this material. In fact, for anyone already familiar with her, it almost goes without saying that Rumer sounds a lot like soft pop icon Karen Carpenter. However, rather than coming off as a copycat, Rumer always sounds like the real thing and seems like she has genuine respect and love for Carpenter and the rest of the soft singer/songwriter titans. She nailed Bread's "Goodbye Girl" on Seasons for gosh sakes, and Boys Don't Cry takes its cue from that cover and not the original material written in a retro style that made up most of Seasons. Here we get Rumer's take on such laid-back cuts as Jimmy Webb's "P.F. Sloan," Todd Rundgren's "Be Nice to Me," and Hall & Oates' "Sara Smile," among others. Adding to the '70s soft rock vibe is the lush orchestral production from Steve Brown, who was also responsible for the sound of Seasons. These are organic and rich-sounding tracks that frame Rumer's voice in sparkling piano, cinematic bits of strings, rounded horn parts, the twang of the occasional pedal steel guitar, and even a poignant harmonica line, as on Townes Van Zandt's "Flyin' Shoes." Kudos to Rumer for not just covering the most well-known cuts from the best-known '70s artists, but also including such lesser-known numbers as Clifford T. Ward's "Home Thoughts from Abroad" and Terry Reid's "Brave Awakening." ~Matt Collar

Boys Don't Cry

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Rita Marie - So Many Stars

Styles: Vocal Jazz
Year: 2012
File: MP3@320K/s
Time: 46:50
Size: 110,9 MB
Art: Front

(2:08)  1. You'd Be So Nice To Come Home To
(5:55)  2. You Go To My Head-Coots/Gillespie
(4:48)  3. So in Love
(3:22)  4. Old Devil Moon
(4:34)  5. Easy Street
(3:37)  6. It's All Right With Me
(3:44)  7. Slow Hot Wind
(3:19)  8. Why Don't You Do Right
(3:37)  9. No Moon At All
(3:29) 10. How Deep Is the Ocean
(4:18) 11. You Must Believe in Spring
(3:54) 12. So Many Stars

This is the debut CD of Rita Marie performing some of her favorite classic jazz tunes. The collection includes a unique variety of songs written by Cole Porter Irving Berlin, Michelle Legrand, Sergio Mendez, Henry Mancini, as well as other fine composers spanning the first half of the last century. The warm and sensual vocals will enchant and inspire you. These romantic and moving songs are masterfully delivered by some of South Florida's finest jazz musicians. Enjoy this listening experience which is of course, all about LOVE! http://www.cdbaby.com/cd/ritamarie1

Personnel: Rita Marie (vocals); Jeff Padowitz (piano); Giuseppi Pucci (drums).

So Many Stars

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Michael Feinstein - Livingston & Evans Songbook

Styles: Vocal And Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 74:37
Size: 172,3 MB
Art: Front

(2:24)  1. You're So Right For Me
(4:56)  2. Mona Lisa
(2:57)  3. What Fools These Mortals Be
(2:40)  4. Buttons and Bows
(3:49)  5. The Late Scene
(1:59)  6. Bonanza / Mr. Ed
(3:01)  7. All the Time
(3:37)  8. How Much Will I Love You
(2:39)  9. His Own Little Island
(2:58) 10. Silver Bells
(2:57) 11. Ya' Got Class
(4:51) 12. Never Let Me Go
(4:33) 13. Jubilie-Jubilo
(3:18) 14. Tammy
(3:03) 15. Through Children's Eyes
(4:20) 16. To Each His Own
(3:26) 17. Almost in Your Arms
(2:32) 18. Henriette
(3:07) 19. The Mating Season
(2:12) 20. Whatever Will Be Will Be (Que Sera, Sera)
(2:37) 21. As I Love You
(3:36) 22. Anywhere But Here
(2:54) 23. Wish Me a Rainbow

There are major songwriters whose names are as well known as those of the singers of their songs, and there are others who are largely unknown, requiring a list of their biggest hits to bring their accomplishments into focus. The team of Jay Livingston and Ray Evans fits into the latter category, probably because they wrote primarily for the movies rather than the Broadway stage and because their heyday occurred from the late '40s to the late '50s, instead of during the perceived golden age of the 1930s. So, here's the list: "Que Sera, Sera (Whatever Will Be, Will Be)," "Mona Lisa," and "Buttons and Bows" were their Oscar-winners, and among their other hits were "Silver Bells," "Tammy," and "To Each His Own." All those songs are featured on Michael Feinstein's tribute album, the flagship release on his new Feinery imprint for Concord Records. The album was made very much with the support of Livingston and Evans.

Livingston (who died of pneumonia on October 17, 2001, at age 86) sings along and plays piano on several songs, and he and Evans submitted to an extensive interview printed in the CD booklet. The songwriters have also provided a number of lost songs from aborted projects that add considerably to their catalog. Writing on assignment, Livingston and Evans were versatile to a fault, such that it's hard to find a consistent style to their work. Feinstein imposes his own style, however, singing the ballads with his exaggerated smoothness and the novelty songs with appropriate sprightliness. On occasion, one wishes for more instrumentation and fuller arrangements to do justice to songs written with Hollywood orchestras in mind, but the intimacy of the songbook approach brings out the songwriters' craftsmanship well. Melissa Manchester's torchy performance of "Never Let Me Go" is a particular standout. ~ William Ruhlmann  http://www.allmusic.com/album/livingston-and-evans-songbook-mw0000226773

Personnel: Michael Feinstein, Jay Livingston (vocals, piano); Melissa Manchester (vocals); Wayne Johnson (guitar); Warren Luening (trumpet); Shelly Markham, Page Cavanaugh (piano); Phil Mallory, Cliff Hugo (bass); Dave Tull (drums).

Livingston & Evans Songbook

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Paul Desmond - From the Hot Afternoon

Styles: Saxophone Jazz

Year: 2000

File: MP3@320K/s

Time: 57:21

Size: 132,1 MB

Art: Front

(3:00)  1. Outubro (October)

(4:33)  2. Gira Girou (Round n' Round)

(3:09)  3. Faithful Brother

(4:01)  4. To Say Goodbye

(3:31)  5. From The Hot Afternoon

(3:46)  6. Circles

(3:05)  7. Martha & Romao

(2:46)  8. Catavento

(4:25)  9. Canto Latino (Latin Chant)

(4:41) 10. Crystal Illusions

(4:21) 11. Gira Girou (Round n' Round)

(2:49) 12. Faithful Brother

(3:56) 13. From the Hot Afternoon

(2:31) 14. Catavento (Alternative Take)

(4:01) 15. Canto Latino (Latin Chant)

(2:38) 16. From the Hot Afternoon

Paul Desmond's first genuine all-Brazilian album under the Creed Taylor signature was a beauty, a collection of songs by the then-moderately known Edu Lobo and the emerging giant Milton Nascimento, then only in his early twenties. All Desmond has to do is sit back and ride the Brazilian grooves while lyrically ruminating on whatever pops into his head. It sounds so effortless -- until you try it yourself. The swirling, often gorgeous orchestral arrangements are by Don Sebesky (one CD edition mistakenly gives Claus Ogerman credit on the cover), Airto Moreira leads the samba-flavored percussion forces, and Lobo and his wife Wanda de Sah appear on three of Lobo's four songs. Lobo's "To Say Goodbye," "Circles," and "Martha and Romao" have exactly the brand of wistful sadness that Desmond could communicate so well; on the former, de Sah has to sing well below the register with which she is comfortable, and the strain is painfully obvious. Some of Nascimento's best early tunes are here, including the tense title track, the popping "Catavento," and "Canto Latino." "Catavento" inspires a particularly inventive solo from Desmond where he pulls out one of his age-old tricks, quoting "St. Thomas." This 2000 Verve "By Request" edition adds no less than six alternate takes to the package. ~ Richard S.Ginell http://www.allmusic.com/album/from-the-hot-afternoon-mw0000653404

Personnel: Edú Lobo (vocals, guitar); Paul Desmond (saxophone, alto saxophone); Wanda de Sah (vocals); Dorio Ferreira (guitar); Margaret Ross (harp); Lewis Eley, George Ockner, Avram Weiss, Eugene Orloff, Sylvan Shulman, Raoul Poliakin, Max Pollikoff, Matthew Raimondi, Paul Gershman (violin); Charles McCracken , George Ricci (cello); Stanley Webb , Stan Webb (flute, alto flute, percussion); Don Hammond, Hubert Laws (flute, alto flute); George Marge, Phil Bodner (clarinet, oboe, saxophone); Irvin "Marky" Markowitz, Marvin Stamm (trumpet, flugelhorn); James Buffington (French horn); Paul Faulise (bass trombone); Pat Rebillot (electric piano, keyboards); Airto Moreira (drums, percussion); Jack Jennings (percussion).

From the Hot Afternoon

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Norm Drubner - Let's Fall In Love

Styles: Vocal
Year: 2014
File: MP3@320K/s
Time: 37:54
Size: 87,5 MB
Art: Front

(3:28)  1. Isn't It a Lovely Day
(2:15)  2. How About You
(2:53)  3. I Don't Know Enough About You
(3:19)  4. My Funny Valentine
(2:40)  5. Let's Fall in Love
(4:18)  6. Where or When
(3:08)  7. Too Marvelous for Words
(4:58)  8. Maybe You'll Be There
(2:36)  9. The Day Isn't Long Enough
(2:48) 10. Day in Day Out
(2:25) 11. You'll Never Know
(3:00) 12. If You Were the Only Girl in the World

With his warm, breathy voice, Norm Drubner can reflect the emotional pulse of even the most familiar of jazz standards. Suddenly, what once seemed to be so engrained in the consciousness that new feelings were muted becomes fresh and alive once again. On his latest album Let’s Fall in Love, Drubner doesn’t do the usual, which is a paint-by-numbers rendition of classic material, so often the case with other artists. Instead, Drubner offers his own interpretation of them, letting his personal affection and experiences for each song drive every performance.

Drubner’s ability to communicate real feelings into these tunes is a huge key to his success. On “My Funny Valentine,” the gentle romanticism in Drubner’s vocals pierces the heart; his lovely singing is perfectly balanced with the sublime piano playing. Together, they light the candles of amore. On “You’ll Never Know,” Drubner’s voice is in front of the mix, giving it heightened intimacy; it almost sounds like he’s whispering it to your ear. The strong production values and tasteful instrumentation on Let’s Fall in Love further complement Drubner’s vocal strengths. The sweetly melodic piano of “The Day Isn’t Strong Enough” and the sweeping beauty of “Too Marvelous for Words” create a blissful listening experience, especially on these simmering spring afternoons. http://news.allaboutjazz.com/vocalist-norm-drubner-captures-emotional-highs-of-jazz-classics-on-new-cd.php

Let's Fall In Love

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Dmitri Matheny - Starlight Cafe

Bitrate: MP3@320K/s
Time: 59:07
Size: 135.3 MB
Styles: Contemporary jazz
Year: 1996
Art: Front

[8:45] 1. Stardust
[7:18] 2. When Lights Are Low
[6:18] 3. Twilight World
[6:09] 4. Spring Skylight
[5:01] 5. Whisper, Muse
[6:39] 6. Geneva
[4:13] 7. Soca Nova
[6:03] 8. Corcovado (Quiet Nights)
[5:03] 9. Saturn's Child
[3:34] 10. When You Wish Upon A Star

Already tabbed a "Talent Deserving Wider Recognition" in the 1998 Down Beat Critics' Poll, flugelhornist Dmitri Matheny seems on the verge of establishing himself as a major new jazz star. His third release on San Francisco's Monarch label may just put him over the top.

Conceived as a "collection of nocturnes," Starlight Cafe is a quiet, hauntingly beautiful album of ballads and standards (including "Stardust," "Corcovado," "When You Wish Upon a Star," and Benny Carter's "When Lights Are Low") plus several of Matheny's similarly themed originals. The 34-year-old Nashville native, now a stalwart on the Bay Area jazz scene, is a velvety smooth player who favors the lyrical and poetic side of jazz over the fire and brimstone side championed by many of his contemporaries. His tone and overall approach bear the strong influence of his mentor, the impeccable "flumpet" player Art Farmer. His ballad playing also recalls that of another master of California romanticism, Chet Baker.

The album was recorded live in Berkeley with a drummer-less trio featuring the fine pianist Darrell Grant (ex-Betty Carter, Frank Morgan, Tony Williams) and bassist Bill Douglass (Mario McPartland's West Coast partner). Matheny and his talented cohorts have made a highly enjoyable album of late-night jazz that proves you don't need to make a lot of noise to make a strong impression. ~Joel Roberts

Starlight Cafe

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Helen Forrest - The Voice Of The Name Bands

Bitrate: MP3@320K/s
Time: 51:14
Size: 117.3 MB
Styles: Vocal, Big band
Year: 2011
Art: Front

[3:02] 1. Moonray
[2:50] 2. Yes, My Darling Daughter
[2:42] 3. The Devil Sat Down And Cried
[2:50] 4. I Don't Want To Walk Without You
[3:22] 5. I Had The Craziest Dream
[2:29] 6. Close To You
[3:34] 7. Day In, Day Out
[2:56] 8. How High The Moon
[2:49] 9. Shake Down The Stars
[3:18] 10. Deep In A Dream
[3:12] 11. All The Things You Are
[2:58] 12. It Never Entered My Mind
[3:23] 13. Skylark
[2:58] 14. You Made Me Love You
[3:10] 15. Deep Purple
[3:08] 16. Taking A Chance On Love
[2:26] 17. Baby, What You Do For Me

Helen Forrest (April 12, 1917 – July 11, 1999) was an American singer. She served as the “girl singer” for three of the most popular big bands of the Swing Era (Artie Shaw, Benny Goodman, and Harry James), thereby earning a reputation as “the voice of the name bands.” Helen was born Helen Fogel in Atlantic City, New Jersey on April 12, 1917. Her parents, Louis and Rebecca Fogel, were Russian-born Jews.

At the peak of her career, Helen Forrest was the most popular female singer in the United States. Because of her work with the bands of Artie Shaw, Benny Goodman, and Harry James, she is known as “the voice of the name bands” and is regarded by some as the best female vocalist of the swing era. In addition, AllMusic describes Forrest as “a performer that some might not consider a jazz vocalist, but one with exceptional ability to project lyrics and also an excellent interpreter.” Also, IMDb describes Forrest: “though Helen was not, perhaps, a jazz singer in the truest sense, she brought to her songs a wistful ‘girl-next-door’ quality” through her “femininity and warmth of her voice and the clear, emotional phrasing of her lyrics.” In his book The Big Bands, writer George Simon wrote, “Helen was a wonderfully warm and natural singer.” Over the course of her career, Helen Forrest recorded more than 500 songs. In 2001, she was posthumously inducted into the now-defunct Big Band and Jazz Hall of Fame. According to many of her fans, Forrest is reported to have been a warm, amiable woman who was always willing to chat with her fans and sign autographs. Despite Helen Forrest’s legacy, her grave is still marked with a temporary grave marker (as of 2010).

The Voice Of The Name Bands

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Johnny Nash - The Best Of

Bitrate: MP3@320K/s

Time: 48:22

Size: 110.8 MB

Styles: Reggae

Year: 1996

Art: Front

[2:45] 1. I Can See Clearly Now

[2:43] 2. Dream Lover

[2:42] 3. Hold Me Tight

[2:44] 4. There Are More Questions Than Answers

[2:54] 5. Let's Be Friends

[3:23] 6. Cupid

[3:55] 7. Reggae's On Broadway

[3:21] 8. Let's Move And Groove Together

[3:12] 9. Guava Jelly

[3:02] 10. Wonderful World

[3:01] 11. Stir It Up

[2:51] 12. Ooh, What A Feeling

[2:40] 13. Loving You

[3:16] 14. Tears On My Pillow (I Can't Take It)

[2:46] 15. All I Have To Do Is Dream

[3:00] 16. Halfway To Paradise

Born John Lester Nash, Jr. in Houston, Texas, he began as a pop singer in the 1950s. He released four albums for ABC-Paramount, with his self named debut in 1958. Around 20 singles were released between 1958 & 1964 on a variety of labels such as Groove, Chess, Argo and Warners. He also enjoyed success as an actor early in his career appearing in the screen version of playwright Louis S. Peterson's Take a Giant Step. Nash won a Silver Sail Award for his performance from the Locarno International Film Festival.

Besides "I Can See Clearly Now," Nash recorded several hits in Jamaica, where he travelled in early 1968, as his girlfriend had family links with local TV and radio host and novel writer Neville Willoughby. Nash planned to try breaking the local rocksteady sound in the United States. Willoughby introduced him to a local struggling vocal group, Bob Marley & The Wailing Wailers, Members Bob Marley, Bunny Wailer, Peter Tosh and Rita Marley introduced him to the local scene.[2] Nash signed all four to an exclusive recording contract with his JAD label and also an exclusive publishing contract with Cayman music. An advance was paid in the form of a weekly wage and JAD also financed some of their recordings, some with Byron Lee's Dragonaires and some with other local musicians such as Jackie Jackson and Lynn Taitt. None of the Marley and Tosh songs he produced were successful. Only two singles were released at the time: "Bend Down Low" (JAD 1968) and "Reggae on Broadway" (Columbia, 1972), which was recorded in London in 1972 on the same sessions that produced "I Can See Clearly Now." It sold over one million copies, and was awarded a gold disc by the R.I.A.A. in November 1972.[3] The I Can See Clearly Now album includes four original Marley compositions published by JAD: "Guava Jelly", "Comma Comma", "You Poured Sugar On Me" and the follow-up hit "Stir It Up". "There Are More Questions Than Answers" was a third hit single taken from the album.

The Best Of

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Nilson Matta - East Side Rio Drive

Bitrate: MP3@320K/s
Time: 49:47
Size: 114.0 MB
Styles: Latin jazz
Year: 2015
Art: Front

[6:04] 1. Sertao
[6:22] 2. Boogie Stop Shuffle
[3:50] 3. Mojave
[5:49] 4. E Menina
[6:24] 5. Verde
[4:15] 6. Blue In Green
[0:44] 7. Proemio Do Mingus
[5:16] 8. Lucas De Nadine
[6:45] 9. Angela
[4:13] 10. Mambo Inn

At the center of it all is Nilson Matta, who is both an outstanding bassist and an exceptional maestro, to employ another overused term. As a bandleader, he has an innate sense of orchestration, of flow, of sequence, of musical space and together with New York based producer/arranger Humberto (Howard) Léder (no stranger to mixing musical cultures, e,g. B.B.King with legendary Brazilian percussionist Nana Vasconcelos), they masterfully conceived an idea to make one piece, with specifically-sized ensembles and a unique groove, and to proceed emotionally and logically, how to make a well-known melody seem fresh and exciting, and then, how to contrast it with something not quite so familiar.

East Side Rio Drive

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Susannah McCorkle - As Time Goes By

Styles: Vocal Jazz

Year: 1986

File: MP3@320K/s

Time: 44:26

Size: 104,0 MB

Art: Front

(3:34)  1. September In The Rain

(4:16)  2. I Can't Give You Anything But Love

(4:03)  3. Taking A Chance On Love

(4:56)  4. For All We Know

(5:12)  5. As Time Goes By

(3:12)  6. I Get A Kick Out Of You

(6:03)  7. Alone Together

(4:16)  8. Pennies From Heaven

(4:52)  9. You Don't Know What Love Is

(3:57) 10. Blues In The Night

McCorkle was born in Berkeley, California. She studied modern languages at the University of California, Berkeley. McCorkle began singing professionally after hearing recordings of Billie Holiday in Paris in the late 1960s. She nearly became an interpreter at the European Commission in Brussels, but moved instead to London in 1972 to pursue a career in singing. While in the UK, she made two albums which, although well received, enjoyed only limited circulation. In the late 1970s, McCorkle returned to the United States and settled in New York City, where a five-month engagement at the Cookery in Greenwich Village brought her to wider public attention and elicited rave reviews from critics.

During the 1980s, McCorkle continued to record; her maturing style and the darkening timbre of her voice greatly enhanced her performances. In the early 1990s, two of the albums McCorkle made for Concord Records, No More Blues and Sábia, were enormously successful and made her name known to the wider world. She was recorded by the Smithsonian Institution which at the time made her the youngest singer ever to have been included in its popular music series. McCorkle played Lincoln Center's Avery Fisher and Alice Tully Halls five times and Carnegie Hall three times, and was featured soloist with Skitch Henderson and the 80-piece New York Pops in a concert of Brazilian music. Thanks to her linguistic skills, McCorkle translated lyrics of Brazilian, French, and Italian songs, notably those for her Brazilian album Sabia. She had a special affinity for Bossa Nova and often cited Antonio Carlos Jobim's "Waters of March" as her personal favorite. McCorkle also had several short stories published and, in 1991, began work on her first novel. She published fiction in Mademoiselle, Cosmopolitan Magazine, and non-fiction in the New York Times Magazine and in American Heritage, including lengthy articles on Ethel Waters, Bessie Smith, Irving Berlin and Mae West.

A survivor of breast cancer, McCorkle suffered for many years from depression and committed suicide at age 55 by leaping off the balcony of her 16th-floor apartment on West 86th Street in Manhattan. She was alone in her home at the time. The police immediately entered her home after identifying her body and found no foul play. Suicide was ruled the manner of death. One year later, in a New York magazine tribute entitled "Jazz Bird", Gwenda Blair wrote, "Onstage, singer Susannah McCorkle exuded a sultry self-confidence that won her lifelong fans. But in private, she fought depression so deep and so well hidden that a year after her suicide, even some in her most intimate circle wonder how they missed the cries for help." Haunted Heart, a biography of Susannah McCorkle written by Linda Dahl, was published in September 2006 by University of Michigan Press. ~ Bio  https://en.wikipedia.org/wiki/Susannah_McCorkle

Personnel: Susannah McCorkle (vocal),  Jimmy Heath (ts), Ted Dunbar (g), Billy Taylor (p), Victor Gaskin (b), Tony Reedus (d)

As Time Goes By

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Lee Ritenour - Overtime

Styles: Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 73:32
Size: 168,8 MB
Art: Front

(5:48)  1. Boss City
(9:14)  2. Blue in Green
(4:27)  3. Ocean Ave.
(5:01)  4. She Walks This Earth
(5:12)  5. Sugarloaf Express
(4:38)  6. Possibilities
(6:52)  7. Papa Was A Rollin' Stone
(5:37)  8. Morning Glory
(7:24)  9. Captain Fingers
(3:47) 10. P.a.L.S.
(5:56) 11. Night Rhythms
(5:00) 12. Lil' Bumpin'
(4:30) 13. Is It You?

Overtime is really two CDs in one. On the instrumentals, particularly "Bass City" and "Blue in Green," guitarist Lee Ritenour sounds a lot like Wes Montgomery and he leads his group (which features either Ernie Watts or Eric Marienthal on tenor) through some relatively straight-ahead numbers filled with soulful and creative playing. However the five vocals numbers are much more in the R&B/smooth vein and are largely throwaways despite the occasional presence of Ivan Lins. Clearly Ritenour was going for variety on this project but will probably only satisfy his greatest fans. The jazz listeners will be turned off by the vocals and the pop/smooth fans will probably only tolerate some of the more adventurous originals. Ritenour sounds fine in both settings but probably should have recorded twice as much music and split this CD into two. ~ Scott Yanow  http://www.allmusic.com/album/overtime-mw0000209550

Personnel: Lee Ritenour (guitar); Ivan Lins (vocals, Fender Rhodes piano); Eric Marienthal (flute, saxophone, soprano saxophone, tenor saxophone); Patrice Rushen (piano, Fender Rhodes piano, synthesizer); Dave Carpenter (acoustic bass, double bass); Melvin Davis , Anthony Jackson (bass guitar); Steve Forman (percussion); Tim Carmen (programming); Grady Harrell, Kenya Hathaway (vocals); Ernie Watts (tenor saxophone); Chris Botti (trumpet); Dave Grusin (piano, Fender Rhodes piano, keyboards); Barnaby Finch (keyboards); Harvey Mason, Sr. , Oscar Seaton (drums); Alex Acuña (percussion); Jochem van der Saag (programming).

Overtime

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Massimo Farao Trio - I Left My Heart In San Francisco

Styles: Piano Jazz

Year: 2015

File: MP3@320K/s

Time: 66:39

Size: 153,0 MB

Art: Front

(7:08)  1. I Left My Heart In San Francisco

(4:54)  2. Chega De Saudade

(6:50)  3. Whisper Not

(5:22)  4. Love Is A Many-Splendored Thing

(5:56)  5. In A Sentimental Mood

(6:15)  6. All of You

(6:25)  7. What A Difference A Day Made

(6:27)  8. Ain't Misbehavin'

(5:34)  9. I'm a Fool to Want You

(6:11) 10. Georgia on My Mind

(5:33) 11. Very Thought Of You

Massimo Farao is a wonderful Italian pianist who has played and recorded with Red Holloway, Albert "Tootie" Heath, Tony Scott, Franco Ambrosetti, Nat Adderley, Jeff Tain Watts, Jack DeJohnette and Chris Potter, among others. Venus Records' producer Tetsuo Hara must have really fallen in love with Farao's music because in less than a year he has released no less than five of the Italian pianist's albums. The debut CD by his trio Luiza was followed by Bohemia After Dark which featured his bassist Aldo Zunino in a duo setting. Now we have three new albums (Autumn Leaves, My Funny Valentine and I Left My Heart In San Francisco) that were all recorded in a three-day session in February, 2014.

It seems quite a feat for a piano trio to produce three albums-worth music in three days, but the quality of the performance is consistently high. Farao's passionate style and romanticism are very attractive along with the rich harmonies he creates. He doesn't play too many notes and his arrangements are relatively straight forward, but his choice of notes is exquisite. With his unfailing sense of swing, all his music including ballads radiates an aura of happiness. Recommended to fans of piano trios! http://www.eastwindimport.com/product-info.asp?ProductID=13340

Personnel:  Massimo Farao (piano); Aldo Zunino (bass); Marco Tolotti (drums).

I Left My Heart In San Francisco

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Serge Chaloff - Boston Blow-Up!

Bitrate: MP3@320K/s

Time: 45:44

Size: 104.7 MB

Styles: Hard bop, Saxophone jazz

Year: 1955/2006

Art: Front

[2:36] 1. Bob The Robin

[4:41] 2. Yesterday's Gardenias

[3:12] 3. Sergical

[3:40] 4. What's New

[3:23] 5. Mar-Dros

[4:22] 6. Jr

[3:50] 7. Body And Soul

[3:21] 8. Kip

[1:40] 9. Diane's Melody

[3:16] 10. Unison

[3:45] 11. Boomareemaroja

[4:20] 12. Herbs

[3:31] 13. Herbs

Baritonist Serge Chaloff, best known as a member of Woody Herman's Second Herd, made a comeback in the mid-'50s after years of drug abuse. Having kicked the habit in his native Boston, he recorded The Fable of Mable in 1954 and this excellent session the following year. Chaloff is heard on a variety of obscure originals plus a couple of standards (including a near-classic "Body and Soul") in a sextet with trumpeter Herb Pomeroy and altoist Boots Mussulli. The ironic part is that, once Chaloff cleaned up his act, he contracted spinal paralysis and died in 1957. However, the baritonist is very much in prime form on this set, which was once only available on CD as part of Mosaic's Serge Chaloff limited-edition box but was reissued by Capitol Jazz in 2006 with three extra tracks. ~Scott Yanow

Boston Blow-Up

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Malo - S/T

Bitrate: MP3@320K/s

Time: 44:07

Size: 101.0 MB

Styles: Latin rock

Year: 1972/1995

Art: Front

[6:47] 1. Pana

[7:48] 2. Just Say Goodbye

[7:15] 3. Cafe

[6:27] 4. Nena

[6:32] 5. Suavecito

[9:16] 6. Peace

Malo was an American Latin-tinged rock and roll group. The San Francisco-based ensemble was led by Arcelio Garcia and Jorge Santana, the brother of Latin-rock guitarist, Carlos Santana. Four of Malo's original members (Santana, Leo, Garcia, Tellez, and Bean) had previously played in the band, The Malibus. The other three founding members (Abel Zarate, Roy Murray, and Richard Spremich) had played together in the group, Naked Lunch.

Malo's 1972 Top 20 hit single, "Suavecito," was written by timbales player Richard Bean, who initially wrote it as a poem for a girl in his high school algebra class. The song has been called "The Chicano National Anthem" and was arranged for Malo by Richard Bean, bassist Pablo Tellez, and Abel Zarate. Tellez and Zarate also received co-author credits on "Suavecito". Guitarist Abel Zarate gave Malo a distinctive two-guitar sound with intricate harmony and dual solos the norm. The band featured full horn and percussion sections in the style of contemporary bands Blood, Sweat & Tears and Chicago. Some of the best musicians in the Bay Area were featured in Malo, including Forrest Buchtel, Jr., Ron Smith, Paul C Saenz, Luis Gasca, and Tom Harrell in the trumpet section. Malo's music was also hugely popular in Central and South America, especially the songs "Chevere", "Nena", "Pana", "Cafe", and "Oye Mama".

Malo 

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Keith Andrew - Blue Funky Blue

Bitrate: MP3@320K/s
Time: 55:17
Size: 126.6 MB
Styles: Guitar jazz
Year: 2011
Art: Front

[4:22] 1. Pookies Groove (Feat. Marcus Anderson & Nate Ginsberg)
[4:29] 2. Bayon (Feat. Marcus Anderson & Nate Ginsberg)
[5:46] 3. Blue Funky Blue (Feat. Nate Ginsberg)
[4:36] 4. Who Dat, Where You At (Feat. Nate Ginsberg)
[4:19] 5. Bubblefunk (Feat. Marcus Anderson)
[4:11] 6. Samasama
[4:27] 7. Sherpadance (Feat. Rob Tardik)
[4:05] 8. Fertile Crescent (Feat. Nate Ginsberg)
[3:20] 9. Little Sierra (Feat. Mingo Lewis)
[3:21] 10. Howl Mountain
[5:12] 11. Middle Of The Night (Feat. Mingo Lewis)
[2:39] 12. Makes Me Wonder
[2:47] 13. Who Dat, Said Who Dat (Feat. Nate Ginsberg)
[1:36] 14. New Way

Guitarist/keyboardist/vocalist Keith Andrew brings us a funky, saucy, and smooth offering that is diverse, melodic, and loaded with swagger. This release, Blue Funky Blue, which also features saxman Marcus Anderson and guitarist Rob Tardik on select tracks, boasts a delightful blend of contemporary jazz, fusion, blues, funk, and touches of World, a recipe not unfamiliar to Andrew.

On Blue Funky Blue, you’ll find yourself in the familiar settings of contemporary jazz (e.g., “Pookies Groove”), blues (title track), and funk (“Who Dat, Where You At?”) only to witness a slight detour into exotic areas of World (“Fertile Crescent,” “Sherpadance”) and great fusion (“Little Sierra,” “Makes Me Wonder,” “New Way”). You’ll also find tracks that just do their own thing, defying categorization or pigeonholing (e.g., “Howl Mountain” and the raspy “In the Middle of the Night,” which play with fusion, blues, and rock, as well). The outrageously swinging uptempo bluesy “Who Dat, Said Who Dat?” showcases Andrew’s ability to fire off lightning riffs and directs the spotlight toward the nimble fingers of keyboardist Nate Ginsberg, as well. This piece is jazz/blues on steroids, so hold on to your hats for the ride. Impressive showing of skill for sure.

To say this album is full of emotion and creativity is an understatement. This had to be a true experience for all who participated in the making of this project. I personally wouldn’t say that Blue Funky Blue is as comprehensively bluesy and funky as its title might suggest, but if you want creativity, diversity, and totally impressive musicianship, open this door. You’ll find that you’re in the right place. ~Randy Jackson

Blue Funky Blue

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Lisa Levy - When I Fall In Love

Styles: Jazz, Vocal
Year: 2008
File: MP3@320K/s
Time: 75:00
Size: 171,8 MB
Art: Front

(2:52)  1. My Funny Valentine
(4:45)  2. One Note Samba
(2:31)  3. Something Stupid
(2:47)  4. Sunny
(2:24)  5. Almost Like Being In Love
(3:58)  6. Over The Rainbow
(3:41)  7. The Frim Fram Sauce
(3:54)  8. Dance Me To The End Of Love
(1:49)  9. How High The Moon
(3:10) 10. When I Fall In Love
(2:38) 11. The Twist
(3:25) 12. Embraceable You
(2:52) 13. How Sweet It Is (To Be Loved By You)
(3:01) 14. I Get A Kick Out Of You
(4:32) 15. Nobody Does It Better
(3:10) 16. They Can't Take That Away From Me
(2:18) 17. Moon River
(2:38) 18. Come Rain Or Come Shine
(3:26) 19. Lullaby Of Birdland
(3:47) 20. Taking A Chance On Love
(2:19) 21. It's Delovely
(2:26) 22. Orange Colored Sky
(3:18) 23. Puttin' On The Ritz
(3:06) 24. I Remember You

Purveyor of live musical entertainment for heads of state, diplomats, dignitaries, VIPs and other discerning patrons, SHERATON CADWELL's (www.sheratoncadwell.com) world premier release of its PLATINUM SERIES is an elegant dance collection of selected love songs and greatest hits from the last 70 years. More..http://www.cdbaby.com/cd/lisalevy

"Lisa Levy is a joy to work with, watch, and listen to." ~ Roger Whitnall

"Your vocal stars are glamorous, chic & hip ... what a treat!" ~ Olivier Francone

"It takes a really good band to get the Mayor up to dance the twist!" ~ Hazel McCallion

"Many we knew were asking for a CD of EVERY SONG your band played ... this CD only has some of them. Can we have more, please?" ~ Jean Anderson

"Your track record of recorded work is utterly impressive ... wow!" ~ Julio Hernandez

"I loved your performance ... it was professional and entertaining!" ~ Joanne Wheatley

"You have both style and substance." ~ Jim Stanley

"Awesome! There was hardly any room left on the dance floor ... with thousands more watching your show from all around the amphitheatre!" ~ Tim Reidt

When I Fall In Love

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Kurt Rosenwinkel - Deep Song

Styles: Vocal And Guitar Jazz
Year: 2005
File: MP3@320K/s
Time: 73:41
Size: 168,9 MB
Art: Front

(8:25)  1. The Cloister
(8:20)  2. Brooklyn Sometimes
(7:31)  3. The Cross
(4:48)  4. If I Should Lose You
(6:12)  5. Synthetics
(8:25)  6. Use of Light
(9:12)  7. Cake
(3:51)  8. Deep Song
(7:27)  9. Gesture
(9:25) 10. The Next Step

As listeners it sometimes feels as though we live vicariously through the musical experiences of the artists we cherish excited by the thrill of discovery, the joy of constant growth, and the sheer emotional wallop that the best music holds. And so it's particularly satisfying to watch an artist emerge as more than merely a talented player and composer, but one of significance and consequence. Guitarist Kurt Rosenwinkel arrived on the scene in the early '90s recording with artists including Gary Burton and Paul Motian, and while those early days were spent in a kind of post-Metheny haze, by the middle of the decade a distinctive voice was emerging that was equal parts staggering arpeggio, flurry of cascading notes, and idiosyncratic lyricism. He was also evolving a uniquely ethereal tone processed, but in a thick and velvety manner that was completely his own. The best artists are those with voices so singular that they can be identified within the first couple of notes. By the time of Rosenwinkel's first release of all-original material, '00's Enemies of Energy , it was clear that this was an artist with the potential to become his generation's Frisell, Scofield, or Abercrombie. With the release of Deep Song , that potential is fully realized.

Following the more mainstream The Next Step and an '03 take on electronica, Heartcore , Deep Song feels like a consolidation and acknowledgement of everything Rosenwinkel has done to date. While the instrumentation is more straightforward the leader is joined by pianist Brad Mehldau, saxophonist Joshua Redman, and bassist Larry Grenadier; Ali Jackson alternates drum duties with Jeff Ballard this is far from a mainstream record, with an energy and modernity that is equally strong testament to Rosenwinkel the writer as it is Rosenwinkel the guitarist. By the time the group hit the studio immediately following a whirlwind tour of Europe last summer, they were deeply inside both the material and the collective gestalt. Most revealing are three tracks that Rosenwinkel revisits from his first two Verve releases. As good as those discs are, compare the version of "Synthetics" on Enemies of Energy with this new reading. What is immediately striking is a sense of authority and even stronger sense of adventure in Rosenwinkel's playing. 

Essentially an opening theme that leads into a time-based free improvisation, it also demonstrates the rich interplay taking place throughout the album. Elsewhere, the newer material finds Rosenwinkel continuing to hone his language. The joyous "The Cross" shows how far he has come as a writer of melodies both attractive and curious; and like Abercrombie, Rosenwinkel has a particular penchant for waltz time, finding new ways of subdividing the rhythm so that every track has its own complexion. With an all-star lineup performing material that successfully looks to the past, the future, and the now, Deep Song is Rosenwinkel's most fully-realized album to date, fulfilling the promise of his earlier recordings. With this recording Rosenwinkel makes the leap into that rarefied strata of artists who are truly moving the music forward. ~ John Kelman  http://www.allaboutjazz.com/deep-song-kurt-rosenwinkel-verve-music-group-review-by-john-kelman.php

Personnel: Kurt Rosenwinkel: guitar, vocals, piano (2); Brad Mehldau: piano (1-7, 9, 10); Joshua Redman: tenor saxophone (1, 3-10); Larry Grenadier: bass; Jeff Ballard: drums (3-5, 8); Ali Jackson: drums (1, 2, 6, 7, 10, 11).

Deep Song

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Johnny Varro Swing 7 - Afterglow

Styles: Piano Jazz
Year: 1999
File: MP3@320K/s
Time: 64:33
Size: 151,2 MB
Art: Front

(5:27)  1. It's a Wonderful World
(4:25)  2. Just Squeeze Me (But Don't Tease Me)
(2:58)  3. Ida! Sweet As Apple Cider
(4:24)  4. Truckin'
(4:00)  5. Afterglow
(4:06)  6. In The Still Of The Night
(6:02)  7. Moten Swing
(4:24)  8. Pom Pom
(5:37)  9. Change Partners
(2:51) 10. Humoresque
(3:21) 11. One For Todd
(3:50) 12. Cross Your Heart
(3:28) 13. Front And Center
(4:36) 14. The Chase
(4:56) 15. Brandy N' Beer

Pianist Johnny Varro came closer that anyone in the '90s to play in the flawless swing style of Teddy Wilson. Varro's occasional combos (the one on this CD is called the "Swing 7") are very much in the idiom of late '30s prebop music. Varro, tenor saxophonist Tommy Newsom, Ken Peplowski (on clarinet and his rarely heard alto), trombonist Dan Barrett, trumpeter Randy Sandke, bassist Frank Tate and drummer Joe Ascione perform a variety of '30s and '40s material plus Varro's "Afterglow" and "One for Todd." Although some of the arrangements are reminiscent of John Kirby's Sextet (particularly "Ida, Sweet as Apple Cider," "Humoresque" and Charlie Shavers' "Front and Center"), other groups hinted at are Duke Ellington's small combos, Count Basie and the Dave Pell Octet. The 15 performances include quite a few gems and this is a highly enjoyable example of latter-day small-group swing. ~ Scott Yanow  http://www.allmusic.com/album/afterglow-mw0000047267

Personnel: Johnny Varro (piano); Ken Peplowski (clarinet, alto saxophone); Tommy Newsom (tenor saxophone); Randy Sandke (trumpet); Dan Barrett (trombone); Joe Ascione (drums).

Afterglow

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Johnny Smith - Moonlight In Vermont

Styles: Guitar Jazz
Year: 1952
File: MP3@320K/s
Time: 44:06
Size: 101,8 MB
Art: Front

(2:26)  1. Where Or When
(2:42)  2. Tabu
(3:15)  3. Moonlight In Vermont
(2:33)  4. Jaguar
(3:05)  5. Stars Fell On Alabama
(3:26)  6. Tenderly
(3:10)  7. A Ghost Of A Chance
(2:42)  8. Vilia
(2:15)  9. Cavu
(2:47) 10. I'll Be Around
(2:52) 11. Yesterdays
(2:49) 12. Cherokee
(2:20) 13. Sometimes I'm Happy
(2:26) 14. Nice Work If You Can Get It
(2:30) 15. Jaguar [alternative version]
(2:40) 16. My Funny Valentine

This may be the greatest "forgotten" jazz album of its time. "Moonlight In Vermont" was originally released as the B side of a single in '52. Its lush, gorgeous, laid back groove caressed into life by Smith and Stan Getz made it an immediate radio hit and it was voted Jazz Record Of The Year by Downbeat. Over subsequent decades, "Moonlight In Vermont" and the eponymous album to which it gave birth (originally two 10" issues titled Jazz At NBC ) have gradually faded from view: Smith, a studio musician at NBC and regular performer at Birdland for much of the Fifties, more or less retired from performance in the early Sixties and his work has since been out of catalogue more often than it has been in. An uncannily symmetrical 52 years after its first release, Moonlight In Vermont must now be a strong contender for Jazz Reissue Of The Year. The sixteen tracks, recorded between March '52 and August '53, include the original eight with Getz and a further eight with Getz replaced by either Zoot Sims or Paul Quinchette. The music is meticulously arranged, the harmonic development rich and sophisticated, and the performances, particularly those of Smith, Getz and the "first choice" rhythm section of Gold, Safranski and Lamond, technically awesome; the up-tempo unison passages by Smith and Getz especially are jawdroppingly masterful.

Yet Smith never uses technique for its own sake. Throughout, his rapid fire single note runs (every bit as jetspeed as Tal Farlow's, but more sparingly used) and innovative chordal theme statements and solos (truly harmolodic inventions) are just there's no other word heavenly. Like the title track, much of the album is lush, gorgeous and laid back, but there is plenty of fire and energy here too. Still, gloriously and evocatively, in the original mono, the album has been lovingly remastered in 24-bit by Malcolm Addey. If you like Django, Charlie Christian and/or Wes Montgomery, do yourself an immense favour and check it out. Kinda Interesting Factoid : Somewhat unexpectedly, Johnny Smith is the composer of "Walk Don't Run," that massive, twanging, primeval rock 'n' roll hit for the Ventures in '60. The royalties allowed Smith to relocate from NYC to bucolic Colorado. His lifestyle gain perhaps, but our listening loss for sure. ~ Chris May  http://www.allaboutjazz.com/moonlight-in-vermont-johnny-smith-roulette-jazz-review-by-chris-may.php

Personnel: Johnny Smith (guitar); Stan Getz (tenor saxophone); Sanford Gold (piano); Don Lamond, Morey Feld (drums).

Moonlight In Vermont

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